by Michael Frye | Mar 29, 2020 | Vision and Creativity
Sand dunes at dusk, Death Valley
Sand dunes present an incredible array of shapes, forms, and textures, which makes them highly photogenic. When I first started photographing dunes I was fascinated by those abstract patterns, especially with low-angle light raking across them. And I still am.
But on our last visits to Death Valley, at the end of February and beginning of March, I realized that my tastes have evolved, and I actually prefer photographing the dunes in soft light, before the sun reaches them in the morning, or after the sun leaves them in the evening. At dawn and dusk the dunes can reflect beautiful colors from the sky, turning gold, blue, pink, or even purple. But also, and perhaps more importantly, they look softer. Under that light the dunes look like big, fluffy pillows of sand. They’re less harsh, and more inviting.
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by Michael Frye | Mar 22, 2020 | Composition, Light and Weather
Huntington Gardens – an irresistible pattern! Captured with my iPhone, like all the photos in this post.
I had planned to write this post before the whole coronavirus lockdown. After all, even in “normal” times, many photographers only pick up their cameras when they’re traveling, or taking a workshop. Then when they go on that special trip they’re rusty, and it takes several days just to get back in the groove and start seeing better.
But it doesn’t have to be that way. Here are two simple tips for keeping your photography eye sharp while you’re stuck at home – and even once you go back to your normal routine.
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by Michael Frye | Mar 15, 2020 | Light and Weather
Rainbow over badlands, Death Valley
Claudia and I just got back from two trips to Death Valley. That journey started with a workshop I taught for Visionary Wild, with co-leader Jerry Dodrill. Although Jerry and I didn’t know each other well beforehand, it turns out that we have similar approaches to photography and teaching, plus Jerry is super nice – along with being a wonderful photographer and teacher. We got along really well, and had a great group of participants, so it turned into a really fun workshop.
Claudia actually had to return home early to deal with a minor pet crisis. When I got home after the workshop we saw that Death Valley might be getting some interesting weather: rain and higher-elevation snow, with a flash flood watch. We’d never been in Death Valley during weather like that, so we re-packed the car and drove right back. Camping in the rain with possible flooding – sign me up!
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by Michael Frye | Feb 23, 2020 | Light and Weather
Sunset in a San Joaquin Valley marsh. We’ve had some beautiful sunsets this winter in that other valley – the Central Valley of California – where the wide horizons can showcase the colorful skies. I made this exposure about 45 minutes after sunset. By then it was so dark that my eyes could barely see the color, but the camera could capture it easily.
Which is more important, the light or the subject?
I would say it’s the light – hands down. After all, we don’t really photograph objects; we photograph the light reflected off of objects. Light has everything to do with how a subject looks, and whether it will make an interesting photograph or not. A great subject with ordinary light will make an ordinary photograph. An ordinary subject with great light could make a great photograph.
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by Michael Frye | Feb 17, 2020 | Announcements
Moon rising next to Half Dome, Yosemite
The Out of Yosemite conference was so much fun. Exhausting, but well worth it.
It was an honor to teach alongside John Sexton, Alan Ross, Charlie Cramer, Bill Neill, Charlotte Gibb, Franka Gabler, Alex Noriega, Colleen Miniuk, Matt Payne, Jack Curran, Jennifer King, Harold Davis, Tim Cooper, and Michael Shainblum. All these people are talented photographers and educators, but what made this group extra special to me was the nice mix of older and younger generations, plus the connection with Ansel Adams and Yosemite’s photographic history.
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